IAMHIST master class on Media and History

LUCA School of Arts, Brussels, Belgium

Friday January 10th 2014.

Are you a graduate or doctoral student, post-doc, or young professional currently working on a project in which you engage issues concerning historical film, radio or television or issues in media history? Are you interested in presenting your project to a small group of experts and peers? Then this master-class of the International Association for Media and History may be just what you are looking for. Participants are expected to give a short introduction to their project and to prepare some central questions for discussion. Senior members of IAMHIST will engage with your paper and discuss sources and strategies for developing the project.

The day is designed to be a networking event for emerging scholars and media professionals and an opportunity to engage with leaders in the field in a less formal setting than an academic conference. There is no charge for attendance and lunch is included.

To apply for this event, send a 1-paragraph proposal of your project and a one paragraph bio to IAMIST president Nick Cull <cull @ usc.edu<mailto: cull@usc.edu>> and to IAMHIST secretary-general Leen Engelen <Leen.engelen @ khlim.be>. Deadline is November 20th 2013.

IAMHIST organizes bi-annual conferences and publishes the “Historical Journal of Film, Radio and Television”, which examines the history of audio-visual media and its impact on political, social and cultural developments.

Call for Paper: ReClaiming Participation | Technology, Mediation & Collectivity Conference

ReClaiming Participation | Technology, Mediation & Collectivity Conference, Zurich University of the Arts, May 7 – 9, 2014

DFG-Network “Media of Collective Intelligence” | Institute for Critical Theory, Zurich University of the Arts | Research Initiative “Media and Participation”, University of Konstanz

Participation has become the key issue in popular, economic, and academic notions of New Media. The conference seeks to examine and unravel the debates of the “Participation Age”, rejecting a mere appraisal of the impact of contemporary media on participation. Instead of perpetuating euphoric visions of social “all-inclusion”, web democracy and collaboration as well as pessimistic views of exclusion, top-down hierarchy and the “digital divide”, we aim to reclaim collectivity as an effect of technological, historical and political conditions and practices.

We are seeking papers that offer a wide array of perspectives on the processes of collectivization and individuation in media environments. Topics may range from analyses of participatory objects and technological arrangements to the reciprocity and entanglement of formerly theoretically separated positions. We are welcoming contributions from theoretical considerations to case studies and examinations in the field of the arts. We particularly encourage PhD candidates and early career researchers to submit proposals.

Jean-Luc Nancy (Professor emeritus at Marc Bloch University in Strasbourg, France) and Claus Pias (Professor at Leuphana University of Lüneburg, Germany) have confirmed as two of the three conference’s keynote speakers. The program includes three thematic sessions and closes with a final report by the members of the DFG-Network “Media of Collective Intelligence”:

1. Participation and the Claims of Community

2. Participatory Practices and Digital Media

3. Art and Media: Theory of Partaking

4. Final report and outlook of the DFG-Network “Media of Collective Intelligence”

Session I. Participation and the Claims of Community

As media policy, participation is accompanied by visions of being related or tied to something larger and superior. Claims for participation are often implicitly or explicitly connected to a certain idea of a greater unity: an imagination of collectivity or even collective intelligence. This session will question the claims of community in a double sense: if participation can be staged as a promise and a duty at the same time, what are the utopias of participation and what may be their dark sides? Which desires, attractions, and impositions are implied in requests for participation? Thinking of participatory processes as mediations between disparate human and technical entities also means reconsidering the obstacles of coordinating and matching these entities. What are the interface-processes supporting or impeding the building of communities?

Session II. Participatory Practices and Digital Media

New apps, internet platforms and software codes seem to enhance forms of distributed productivity and to open new possibilities to share ideas. Simultaneously, these media conditions, and hence the knowledge of (non-)participation, are inscribed in media and technical objects or devices. Based on this, the session will explore to what extent digital media and the rise of networks re-conceptualize user practices and vice versa. How can we address the reciprocal relations and transformational processes between technical objects predetermining socio-cultural practices in the same way as they are shaped by them? The aim of this session is thus to critically rethink digital participation. In addition to analyzing displays and interface designs, it aims to scrutinize the operations of software agents, bots, and hardware components, which contribute to and determine the possibilities of participation. Consequently, the central question to be discussed is, how can participation be thought of as a socio-technological process?

Session III. Art and Media: Theory of Partaking

This session will focus on theoretical and experimental approaches to the media conditions of participation. This concerns technological prerequisites, practices and techniques, as well as fundamental outlines of participatory being while anticipating a media theory of partaking. Considerations that focus on relational thinking have gained new urgency regarding the fundamentally relational concept of participation. This includes ecological approaches, relational ontology, and postulates of a technological milieu of individuation. By questioning the interconnection of technology, aesthetics, and philosophy, art has become a favored field for experiments with participation. Art and techniques thereby shall be considered in a wider sense as skills, tactics, and practices that might provide a possibility to subvert ideologies of inclusion and exclusion, demonstrating alternatives to the claims and impositions of participation.

We accept abstracts up to 500 words that should address topics and questions relating to one of the sessions. Please add a short CV to your proposal. The deadline for the submission of abstracts is 31 December 2013. Please send abstract and CV to cfp@reclaimingparticipation.com. If you have any questions please refer to our Blog at http://reclaimingparticipation.com or send an email toinfo@reclaimingparticipation.com.

All presenters chosen for the conference are welcome to apply for a travel grant. Please fill out the form regarding refunding, also available on our Blog, to apply for a grant.

FIAT/IFTA Announces Seminar on Television Documentary

The Third FIAT/IFTA Television Studies Seminar on Television Documentary
March 13th and 14th 2014



The FIAT/IFTA Television Studies Commission will organise a two-day seminar, entirely devoted to Television Documentary, hosted by the Netherlands Institute for Sound and Vision at Hilversum.

On the first day 13th March 2014, former and current practitioners will discuss their work in a witness seminar and extracts from their work will be screened.

The second day will be open for presentations of scholarly work on any aspect of television documentary, its history, practice, and aesthetics. Comparative studies are particularly welcome. Scholars are invited to send in their 250-word abstracts and a short biography by December 1st, 2013.

The Seminar language will be English. We are asking participating FIAT/IFTA member archives to provide research facilities and extracts free of charge to candidates whose abstracts are selected.

Initial enquiries should be made to the appropriate member of the Television Studies Commission and completed proposals sent to the same person by 1st December 2013.

The Television Studies Commission members and the areas they are responsible for are:

  • For participants from the UK: Steve Bryant, BFI (steve.bryant@bfi.org.uk)
  • For participants from France and other French-speaking countries: Claude Mussou, INA (cmussou@ina.fr)
  • For Dutch/Flemish speakers: Bert Hogenkamp, Beeld en Geluid (bhogenkamp@beeldengeluid.nl)
  • For US participants: Mike Mashon, Library of Congress (mima@loc.gov)
  • For Central and Eastern European participants and members of the European History Television Network: Dana Mustata, University of Groningen (d.mustata@rug.nl)
  • For Irish participants: Liam Wylie, RTE (Liam.Wylie@rte.ie)
  • For all other potential participants, send your proposals to Andy O’Dwyer, BBC (andy.odwyer@bbc.co.uk).

From One Screen to Another: The Mutations of the Spectator – CALL FOR PAPERS

Call for Papers
Université Paris 8 (Centre d’études sur les médias les technologies et l’internationalisation) Institut National de l’Audiovisuel

International Conference
From One Screen to Another: The Mutations of the Spectator

Throughout the last century, the movie screen has changed (in size, in format), which has fundamentally changed the art of mise-en-scene, and with it, the relationship of the spectator to the representation. When television appeared, the potential and the limits of the “small screen” were questioned, and the art of film, especially fictional film, was redefined by taking the context of reception into account. Today, productions created for even newer screens experiment with both mise-en-scene and forms of narration and seem largely dictated by novel contexts of reception (the ways of addressing the Internet user-viewer in a web series, for example). Furthermore, in a museum, some films are exhibited to the gaze of a mobile visitor-viewer.

This gives rise to some potential questions:

What does it mean to be a spectator/viewer of movies, of television, or of the web? (Simultaneously, what does it mean to be spectator of a particular genre: fiction, documentary, etc.)?
How can the spectatorial postures implied by each of these formats –themselves variable– be categorized?
How can we, in each case, think about the articulation between the position of the spectator and narrative or aesthetic invention.

Our experience as spectator changes depending on whether we see a film projected on a big screen, broadcast on television, or shown from the web, whether streamed from an Internet subscription site, or downloaded to be watched on a TV, computer, or tablet screen. Similarly, watching a web series that is being shown on television or projected on a big screen at a première creates a new perspective from which to view the production. In this movement between platforms, the border between the producer and broadcaster and the spectator is blurred to the point that their respective roles are merged. The spectator’s role is transformed in the new map of viewing experience, whether it be by uploading movies pirated from the theatre or from a Blu-Ray disk, by being invited to try watching a new network (or Netflix) show, by reading comments on social media that try and predict the content of future episodes, or by the alteration of a show’s dialogue or setting. With this migration of films, televised series, or web series, the relationships that spectators create and maintain with the works and their creators change: they become cult objects that fans collect, explain, or comment on. However, they are also objects that are at risk of losing their aura when they change platforms.

This provides a second line of questioning:
How, beyond the “convergence of screens”, can we think about the concurrence and divergence of devices?
What does this movement between platforms change in the experience of the cinema, of television, and of the web?
More generally: from one screen to another, what is the role of the spectator?

Scientific Committee :

Jean Châteauvert (Université du Québec à Chicoutimi), Gilles Delavaud (Université Paris 8), Jean-Pierre Esquenazi (Université Jean Moulin Lyon 3), André Gaudreault (Université de Montréal), Marie-Françoise Grange (Université Jean Monnet Saint-Etienne), Jacques Guyot (Université Paris 8), François Jost (Université Sorbonne Nouvelle Paris 3), Denis Maréchal (Institut National de l’Audiovisuel), Roger Odin (Université Sorbonne Nouvelle Paris 3), Jean-Michel Rodes (Institut National de l’Audiovisuel), Maria Tortajada (Université de Lausanne).

Date and Location:
Institut National de l’Audiovisuel, Paris, May 21-23, 2014

Proposals (title, 20 lines/300 words, brief bio-bibliography) should be sent, before November 30, 2013, to:
Jean Châteauvert Jean_Chateauvert@uqac.ca
et Gilles Delavaud gilles.delavaud@univ-paris8.fr

CALL FOR PAPERS: Doing Women’s Film and Television History

The Second International Conference of the Women’s Film and Television History Network – UK/Ireland will take place from 10th to 12th April 2014 at The University of East Anglia, UK.

Building on the success of the first ‘Doing Women’s Film History’ conference held in 2011, this three-day international conference will bring together researchers in women’s film and television history, archivists, curators and creative practitioners to explore and celebrate all aspects of women’s participation within the visual media industries across the globe and in all periods. The conference will provide a forum for the latest research into women’s work in film and television production (both on screen and off screen), in film distribution and exhibition, their roles in television ranging from presenters and personalities to commissioners and controllers, as well as women’s activities as film and television critics, consumers and fans.

Papers on any topic related to women’s film, television and media history are welcome. Also, the conference organisers invite all interested in hosting panels and strands on the following areas:

* women and documentary: whose voices, which audiences, to whose benefit?

* screenwriters and scriptwriting: the woman writer

* women’s contributions to non-Anglophone film and television industries

* feminist filmmakers and filmmaking collectives

* female film and television fan cultures

* teaching women’s film and television history

Proposals of 300 words for papers should be sent todoingwomensfilmandtvhistory@uea.ac.uk no later than 31st October 2013

Conference organisers: Laraine Porter (De Montfort University), Yvonne Tasker (University of East Anglia) and Melanie Williams (University of East Anglia)

Funded by: Connected to: